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Movie · 2028

Movie · 2027

Their movie about marital bed death is this summer’s buzziest, funniest film. Its director and her co-star talk self-loathing, psychosexuality and unexpected eruptions Earlier this week, Edward Norton took a night flight from Los Angeles to London and felt so dreadful the next day he decided to get a massage. “I hadn’t had one in such a long time,” he says, “and I almost started crying. You’re like: ‘Oh! Ah!’” He has heard similar sounds from cinemas screening his new movie, The Invite, which is about the devastating impact of marriage on your sex life. “People are almost tearful. They’re like: ‘I haven’t had a good,

The first trailer for “Peluru Senja: The Ghost & the Gun” has arrived alongside confirmation of a nationwide Malaysian theatrical release on Aug. 28, timed to the country’s Independence Day weekend. Local distributor Msk Cinemas will handle the rollout. The Bahasa Malaysia-language feature is the third film from Singapore-based Indian director Anshul Tiwari, whose previous credits include “Before Life After Death” and “Bayaar.” The screenplay was written by Abhi Kumar. Producers are Debasmita Dasgupta, Tim Willrich, Bo H. Holmgreen and Mikail Chowdhury, with Jessie White of Misfit Studios serving as executive producer alongside Mohsen Ashraf of Friendly Felix Studios, Tanveer Ali, Amreen Bashir of Amra Bangladeshi and Tahmid Khan of Auras. Set in 1948 Malaya in the volatile years that followed the end of World War II, the film traces a Malay soldier and a British soldier who are left behind after the British military withdraws. Together they must reckon with their

Jodie Foster was discussing great movies and how Hollywood has changed in a talk this week, and she brought up Apple’s “F1” as an example of how machines may be altering creativity. During a Tuesday talk called “Who Owns the Future of Hollywood” with former Sony Pictures CEO Michael Lynton at the Aspen Festival of Ideas, Foster proposed smilingly that the Brad Pitt racing movie seemed like it could have been made by AI. “I don’t say this disparagingly — how could I? This movie went on to make millions of dollars. But I look at a movie like ‘F1’ and I’m like, ‘F1’ was made by AI,” she said with a laugh at the Colorado event. “Wasn’t it? I mean, the structure was exactly the structure that you would learn in school. The actors say the lines exactly the way it would be written if a

Moritz Borman, the producer of Oscar-nominated films such as “The Quiet American” and “Under the Volcano” as well a frequent collaborator of Oliver Stone, died Wednesday in Munich. He was 71. Borman’s death of natural causes was confirmed by his longtime producing partners Eric Kopeloff and Philip Schulz-Deyle. The German-born Borman produced more than 25 feature films over the course of his career, ranging from political thrillers to literary adaptations to action blockbusters. Borman got his break working with director John Huston on 1984’s “Under the Volcano,” an adaptation of Malcolm Lowry’s acclaimed novel about an alcoholic British diplomat who is mourning his dead wife. It drew rave reviews and earned an Oscar nomination for Albert Finney’s lead performance as well as for its score. He would also produce “The Quiet American,” a 2002 film version of a Graham Greene novel about a love triangle that develops between a British journalist,

David Carson's 1994 film "Star Trek: Generations," the most useless movie in the series, features a colossal negative space wedgie called the Nexus, a free-floating energy ribbon with no known origin that tore through the galaxy at regular intervals. The Nexus destroys ships, but also manages to bodily suck up victims and deposit them in a Heaven-like pocket dimension where time has no meaning. At the beginning of "Generations," in the year 2293, Admiral Kirk (William Shatner) is sucked up by the Nexus. Later in the movie, in the year 2371, Captain Picard (Patrick Stewart) is as well. At the time, Picard was busy fighting a Nexus-obsessed scientist named Dr. Soran (Malcolm McDowell

In 1980, Italian filmmaker Ruggero Deodato directed what would become one of the most shocking and controversial movies ever made, “Cannibal Holocaust.” The story of an anthropologist who journeys into the Amazon in search of a trio of young documentarians who have vanished, it’s a pioneering found footage horror movie (large portions of the second half of the movie consist of the documentary footage the missing filmmakers left behind) that did many of the things more famous films like “The Blair Witch Project” did first, and did them better — few horror movies can match “Cannibal Holocaust” for its unnerving technical skill, horrific ideas, and visceral impact. “Cannibal Holocaust” also met with controversy from the moment it was released, due both to its incredibly graphic violence and its cruelty against helpless animals — the latter of which was, unfortunately, not faked. While there’s a conceptual purpose to the animal footage — it